Superman #27 is a comic that’s full of ups and downs. Most of the ups come early in the issue, with a Red Kryptonite-fueled Superman taking on Marilyn Moonlight while Lois Lane deals with the sudden loss of her powers, and the return of an old friend. All the while, Lex Luthor continues to pull strings behind the scenes, but this time he intends to help the Man of Steel, rather than hurt him. But the downs come from how quickly the issue seems to speedrun through its developments.
For starters, there’s the way Superman is cured from his Red K infection. Turns out, Luthor somehow had the cure in his possession, despite claiming his old enemies Pharm and Graft did. Secondly is Marliyn Moonlight, who makes a welcome re-appearance; it apparently turns out that her powers, instead of being magic, are somehow scientifically based and linked to Luthor. What should be a major reveal immediately feels convoluted, and that’s not even getting into how much plot Joshua Williamson packs into this single issue. The Superwoman storyline, Marilyn’s powers, Luthor’s fate…all of it comes at you with the full force of a freight train.
It’s not like Williamson hasn’t been able to juggle multiple plots before. One of the best parts of his Superman run has been how storylines gain momentum, resulting in some great payoff down the road. But with “Superman Red”, it feels like this is a story that should have been three parts instead of two. That way, Williamson could truly let the developments breathe and make the issue flow better. The last pages are a reminder of what he does best, especially since they set the stage for something that’s been brewing since DC launched its “All In” era.
DC
The haphazard nature of Superman #27 also appears in its artwork, which flip-flops between Eddy Barrows, Eber Ferreria and Sean Izaakse. I’m not opposed to having a shift in artwork, but it has to fit the story. Flashing back to past and present? That’s a good shift. Doing a standalone issue? That’s a good shift. But the shift from one style to the next in one issue feels rather jarring. While I love Izaakse’s work, I would have preferred if he either illustrated the full issue or just stuck to the finale.
Barrows and Ferreria, on the other hand, more than deliver when it comes to their respective pages. The standout is definitely the opening, which features the Red K-fueled Superman and Marilyn Moonlight. It’s the type of image that’ll immediately grab your attention, thanks to the way the duo utilizes perspective. Alejandro Sanchez also deserves a shoutout for the color work he does, especially with the contrast between Superman’s red and blue and Marilyn’s black and white. It even leaks into Ariana Maher’s lettering, making for a genuinely cool visual.
Superman #27 delivers a hasty wrap-up to its current story arc, resulting in it feeling halfway between a genuine conclusion and a door being slammed shut. That being said, the tease for the next issue feels like a Very Big Deal in the best way. If you’ve been following DC’s “All In” era you won’t want to miss it.
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